Shot on Kodak Tri-X B&W reversal film using a Canon 814xl Super 8 camera. Being both cameraman and performer the shots were made with the help of a tripod and an ugly but much-loved intervalometer (automatic time lapse device) that was attached to the top of the camera with gaffer tape. The portability of the kit enabled me to reach the more awkward corners of the rugged coastline whilst the natural clunkiness and solidity of the Canon 814xl meant that once set down it would resist the worst efforts of the onshore winds to topple it.

With the timelapse unit methodically and relentlessly triggering frames, pinning me to a performance space defined by the viewfinder's frame, I explored a range of repetitive and mindless routine activities 'for the camera'. I knew that the contrast of the Tri-X stock (enhanced by a red filter) would suit the severity of the rocky landscape against the deep blue sky and I hoped that the filmstock's grainy qualities might be reminiscent of those 'scientific films' of asylum inmates from the early 20th century.

It was an intense, intimate process and Super 8 was the ideal means at the time to capture the moment. My grandmother had died the night before and I had to get out, I had to DO something. Turning obsessive circles and loops seemed to be a perfect response in face of death, and this strange, outmoded mechanical device clicking defiantly on in the cold air seemed a perfect companion.